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Gallery Notes Volume 15 Number 2

Gallery Notes Volume 15 Number 2 Page 1

The Memorial
Rochester
Art Gallery
New York
Vol. 15, No. 2 - November-December, 1949
A VENETIAN
PORTRAIT
NOVEMBER
EXHIBITIONS
"Romantic
Realism
in
19th Century
American
Painting"
The Venetian painter, Vincenzo di Biagio Catena
(ca 1470-1531), was almost certainly a pupil of the
famous Giovanni Bellini. In the early 16th Century
Catena's works were considered by connoisseurs and
collectors on a par with those of Giorgione and Titian, and we know that by 1506 Catena was actually
a partner of Giorgione. Contemporary critical opinion has reduced in importance the larger religious paintings of Catena, retaining for him, however, a place high in the hierarchy of Venetian
portrait painters. The Gallery is indeed fortunate
in the acquisition this month of a small panel,
"Portrait of a Young Man" by Catena, superb in physical condition and high in artistic quality. Apart from the considerable aesthetic appeal of the
crisp clear-cut, simply composed painting, it is
almost an epitome of Venetian painting in portraiture during the Renaissance. The informed observer
can see in it the art historical line of descent
from the best Flemish portraits of the 15th Century
through Antonello da Messina and Giovanni Bellini.
The technique of painting in oil glazes, traditionally introduced into Venice by Antonello, is well
shown here, as is the Renaissance use of a limited
and arbitrary color scheme. The sharp, almost silhouette-like linear treatment combines in typical
Catena fashion with a tightly controlled modelling.
The evident high level of craftsmanship, the strong characterization, and the overall decorative effect combine to form an elegant and distinguished work of art.
Howard S. Merritt, Assistant Professor of Art,
The University of Rochester
In the November exhibition events the Gallery will again present a stimulating combination of contemporary and historic points-of-view - this time in the field of
American landscape art. A carefully selected group of 19th Century paintings from
the permanent collection of The Brooklyn Museum of Art has been assembled and circuited by The American Federation of Arts to illustrate the provocative theme of
"Romantic Realism" in American art. Neglected in recent years for the more sturdy
lusty work of the "Group of Eight", these early 19th Century pioneers in American
scene painting - Thomas Cole, Thomas Doughty, Ralph Blakelock, Washington Allston,
George Inness, Homer D. Martin, etc. - have assumed new artistic as well as historic importance not only as the creators of a native landscape school, but also as
revealing commentators on the life and thought of America during that formative
century.
While 18th Century American painting was dominated by a group of portrait artists
and was almost wholly in the service of the wealthy and aristocratic, the 19th
Century saw a gradual democratizing of art and a new interest in landscape and genre subjects. Portraits continued to be painted, of course, but Americans were becoming more and more interested in the look of America itself and the everyday life
Portrait of a Young Man
Vincenzo di Biagio Catena
The Marion Stratton Gould Fund
HOURS: WEEKDAYS: 10
SUNDAY PROGRAMS:
SUNDAYS: 2:00 TO 5:30 P.M. DEMONSTRATIONS—3:30 FILMS—4:15 P. M.
THE GALLERY IS FREE AT ALL TIMES

The Memorial
Rochester
Art Gallery
New York
Vol. 15, No. 2 - November-December, 1949
A VENETIAN
PORTRAIT
NOVEMBER
EXHIBITIONS
"Romantic
Realism
in
19th Century
American
Painting"
The Venetian painter, Vincenzo di Biagio Catena
(ca 1470-1531), was almost certainly a pupil of the
famous Giovanni Bellini. In the early 16th Century
Catena's works were considered by connoisseurs and
collectors on a par with those of Giorgione and Titian, and we know that by 1506 Catena was actually
a partner of Giorgione. Contemporary critical opinion has reduced in importance the larger religious paintings of Catena, retaining for him, however, a place high in the hierarchy of Venetian
portrait painters. The Gallery is indeed fortunate
in the acquisition this month of a small panel,
"Portrait of a Young Man" by Catena, superb in physical condition and high in artistic quality. Apart from the considerable aesthetic appeal of the
crisp clear-cut, simply composed painting, it is
almost an epitome of Venetian painting in portraiture during the Renaissance. The informed observer
can see in it the art historical line of descent
from the best Flemish portraits of the 15th Century
through Antonello da Messina and Giovanni Bellini.
The technique of painting in oil glazes, traditionally introduced into Venice by Antonello, is well
shown here, as is the Renaissance use of a limited
and arbitrary color scheme. The sharp, almost silhouette-like linear treatment combines in typical
Catena fashion with a tightly controlled modelling.
The evident high level of craftsmanship, the strong characterization, and the overall decorative effect combine to form an elegant and distinguished work of art.
Howard S. Merritt, Assistant Professor of Art,
The University of Rochester
In the November exhibition events the Gallery will again present a stimulating combination of contemporary and historic points-of-view - this time in the field of
American landscape art. A carefully selected group of 19th Century paintings from
the permanent collection of The Brooklyn Museum of Art has been assembled and circuited by The American Federation of Arts to illustrate the provocative theme of
"Romantic Realism" in American art. Neglected in recent years for the more sturdy
lusty work of the "Group of Eight", these early 19th Century pioneers in American
scene painting - Thomas Cole, Thomas Doughty, Ralph Blakelock, Washington Allston,
George Inness, Homer D. Martin, etc. - have assumed new artistic as well as historic importance not only as the creators of a native landscape school, but also as
revealing commentators on the life and thought of America during that formative
century.
While 18th Century American painting was dominated by a group of portrait artists
and was almost wholly in the service of the wealthy and aristocratic, the 19th
Century saw a gradual democratizing of art and a new interest in landscape and genre subjects. Portraits continued to be painted, of course, but Americans were becoming more and more interested in the look of America itself and the everyday life
Portrait of a Young Man
Vincenzo di Biagio Catena
The Marion Stratton Gould Fund
HOURS: WEEKDAYS: 10
SUNDAY PROGRAMS:
SUNDAYS: 2:00 TO 5:30 P.M. DEMONSTRATIONS—3:30 FILMS—4:15 P. M.
THE GALLERY IS FREE AT ALL TIMES